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At the August 2019 meeting of the Saint Louis Watercolor Society, I had the opportunity to watch as artist Lee Walter demonstrated her unique and beautiful watercolor pouring technique. In this technique, paint is poured rather than being applied with a brush. Control is obtained by applying masking fluid to the paper which acts as a barrier, preserving the surface underneath. Don't worry, I'll explain the process in more detail as we go!

It was quite fascinating to watch Lee work her magic! Although she has been painting in watercolor for 17 years, it wasn't until she attended a Jean Grastorf workshop that she learned the basic pouring technique. She has since developed her own unique method, incorporating information she learned about color, order and glazing from artist Peggy Macnamara.

As a preschool art teacher, Lee follows the same advice that she tells her young students: it's more important to focus on the process than the product. As pouring is a slow process that requires a lot of drying time between each layer, Lee likes to focus on each step and make design decisions including color, value, and texture, as she goes. Lee first plans and sketches her paintings on newsprint rather than directly on the watercolor paper, because she doesn't want to disturb the texture on the paper. (The surface of watercolor paper is easily damaged by erasing and overworking.) Once she has a plan, she transfers the image with very few details, leaving room for spontaneity throughout the process.

Many of Lee's ideas come from photographs taken on nature walks with her children. 

Lee sketches her design on newsprint before transferring to watercolor paper.

The next step is to apply masking fluid to any areas you desire to keep the white of the paper. Lee prefers to use “Incredible White Mask” from Cheap Joe's, because it dries clear. The paper Lee uses is Arches 140 lb cold press paper, which she has stretched, stapled and taped to a piece of Gator Board slightly larger than her painting. To apply the mask, she takes a cheap brush, wets it, and applies soap to the bristles before dipping in the masking fluid. This helps the brush to come clean after application. After application, she again rinses out the brush and reapplies soap, which she often leaves on the brush to dry until the next use. (Whatever you do, do not use your good brushes for applying masking fluid! Even with the soap precaution, you will almost certainly ruin your good brushes!) Depending on her subject matter, Lee sometimes paints a small area with pure Holbein Vermillion (a warm red color) and lets it dry before applying masking fluid. Vermillion is an expensive pigment, so she doesn't want to waste it by pouring. She uses Cheap Joe's American Journey paint for pouring because it is inexpensive...and she literally pours it down the sink! Protecting the area with masking fluid also keeps the color pure.

Prior to pouring the first layer, Lee painted the red berries and masked them. She also used

masking fluid to protect a few areas on the bird she wants to remain the white of the paper.

Once the masking fluid has dried completely (very important!), she prepares her paints for pouring by filling little jars or cups with the colors she plans to use, diluted with water and thoroughly mixed. She has no specific formula, but it needs to be liquid enough to pour but not watery, as it will dry several shades lighter.

Over a clear plastic tub large enough to accommodate the size painting she is pouring, Lee tilts her board (one reason for the taped edges is she has something to hold on to!), uses a spray bottle to squirt her painting with clear water, then pours her premixed cup(s) of paint over the painting. There is no magic formula! The colors and color order depend on the results she is trying to achieve. She tilts and moves her painting and spritzes with more water to adjust values until she has a pleasing result. As she is literally pouring the paint, a lot of it ends up in the tub. Once she starts pouring, she has to think fast before the paint begins to dry! Once she is satisfied, she cleans up the excess paint droplets that have accumulated on the masking fluid and taped edges to prevent any dreaded “blooms” from forming where they are not wanted. The painting must dry completely after each pour – anywhere from a few hours to overnight.

Between each layer, there are design decisions to make: what areas to preserve with masking fluid, what colors to prepare for pouring....knowing what colors at what strengths to use comes only with practice. Pouring with transparent color (she only uses transparent colors) is essentially a glazing process. Each successive layer will alter the existing color in some way, be it value, temperature, and/or intensity.

An interesting note: Color order determines outcome. Pouring a yellow before a blue will yield a darker value; pouring the blue first and then the yellow will yield a lighter color.

Each layer receives more masking fluid to protect areas she wants preserved.

At this stage, Lee masked out the entire background before pouring!

Lee generally masks and pours six or more layers before a painting is finished, increasing the color values each time as more and more of the painting is covered with masking fluid. Every layer presents opportunities for design choices as the painting evolves layer by layer, just as in my negative painting process.

Isn't this fascinating? I confess, I tried this technique at home several years ago, with less than perfect results (that's putting it nicely). But watching Lee, with all her enthusiasm, explaining her process, moving and tilting her board in different directions to guide the paint as it blended to create beautiful glowing colors, makes me want to give pouring another try!

The final painting. All masking fluid has been removed, revealing a beautiful result!

Finally, when a piece is complete and everything is thoroughly dry, Lee carefully removes the masking fluid, which often pulls up in one sheet and is, as she says: “very satisfying”! Regardless of how the piece turns out, Lee enjoys the process. Sometimes after the masking is removed, she may add glazes in specific areas to adjust value or temperature, but often the painting is finished as is, without actually painting a single brushstroke! Thank you, Lee, for allowing me to share your pouring process! I can't wait to try it myself!

Paint. Love. Repeat.